Who does not like kisses? I personally love (like nailing żółwików), provided of course that they do not try to kiss me on the lips of some other men. But of course, women are confronted sweetness of lips do not refuse ;-) But seriously, it is time to take up an interesting picture, about which I write a post quite a few months ago. How do I blurted out in the entry to the wishes of Easter ( link ) my friend Nina is a material suitable form a fascinating subject, which is to change the way the art of portraying kisses. Thus, under her influence, I decided earlier this year to write a few words about my opinion, the most wonderful kiss in the painting I have ever seen. And actually two closely related pictures - "Pending" and "Kiss," the nineteenth-century Greek painter, Nikiforasa Lytrasa.
Let us therefore begin with the first of these outstanding paintings of one of the greatest artists in the history of independent Greece. First, some biography, because I realize that probably most readers see the name Lytrasa the first time in my life. A pity, because he / she is in Greek art history books from a similar role as Delacroix Grottger in France or in Poland. Thus embodies the best characteristics of a fairly good idea of \u200b\u200bromantic connections workshop with academic education. But the thing ...
Nikiforos Lytras was born in 1832 in Pyrgos on the island of Tinos. The small Cycladic island since 1821 was part of Greece, and for nine years before the painter's birthday, there was found miraculous icon of Our Lady, which was attributed to St. Luke (as, incidentally, in the case of many others and up is hard when you have time to write down the Evangelist gospel and heal people.) Nikiforos came from an artistic family, because his father (Anthony) was a famous sculptor, executing multiple objects in marble for the surrounding towns and islands. So when I saw her son's art jam quickly sent him to the Athens Academy of Fine Arts, where he visited the boy at the age of eighteen years. On the talent to get to know pretty quickly, its protective wings of that time took it to the best professors, and returned the favor in the young Nikiforos under two years of first prize in the contest for the biblical picture, and before he graduated as an assistant professor. Thanks to his principal teacher, got the work orders in the Russian church Soteiras Lykodimou in Athens. As if that and a trip to the famous academy in Munich was not enough, he exhibited his works at the World Exhibition in Paris in 1855 (and several more).
Such is, a talented artist (though struggling with the problems because, for example him a scholarship revoked because of the state budget - in this matter, the Greeks do not change ...) survived the years of the 50th and 60 When he ceased to pay scholarship, took care of him Ambassador of Greece in Vienna, which continues to sponsor your stay in the capital of Bavaria and the Habsburg state. However, it is only in the 70s the artist took a prominent place in the artistic life of Greece, for the past achievements honored with the title of professor of the Athens Academy. It is from this period, the two paintings. It would seem that in the first of them we have a simple scene with which they could do that in any contemporary painter, who went through all the stages of teaching. Simple composition, and is a recognized figure in profile, rather sketchy, like the interior buildings surrounding it. The very idea of \u200b\u200bit is not particularly novel. How many times a woman in pictures is waiting for the arrival of a particular lover, had previously agreed, time? How many times it then will look for yourself if no one follows, and in this spirit of conspiracy to cuddle chosen one of his heart ... this gave Lytras, such scenes seemed to him but probably too obvious.
serious threat in a situation where images are pendant to each other is that they will be distributed and will end up in different collections, galleries and collections. This is what happens many times in the case of medieval altars, which are dispersed between distant museums. Just in case these two paintings of the recipient can enjoy the sight, looking at both suspended near each other on the wall of the National Gallery in Athens. "The Kiss" originated around 1878, shows the same character who survive until the arrival of their bridegroom. It emerges from behind the shutter is true and the only thing you can say about him is the fact that this dark-haired Greek approaching his mouth to his beloved girl.
in this picture is a lot of hidden passions, which, however, makes quite an impact on the viewer. I personally have included almost identical appearance of space - the same white flower plants close analogue of the paintings Burne-Jones, overturned laundry basket and finally kicked toward the borders of the picture flip. The recipient in both cases is marked as a casual observer described girl's love, and the moodiness of the scene gives rise to a secret between him and the character portrayed. Since in this way quite a lovely Greek woman must meet with her man, it means that for some unexplained reason, that we feel is for her "forbidden". We do not know whether the parents are opposed to the union as a "Romeo and Juliet", or whether it meets a peasant woman with the son of the local landowners are reluctant to branch integrating them with the commonalty. Responses to this question, do not get either one or the other painting. We watch because only the inside of a rather poor, simple country cottage, one of many to this day can be found on the Greek province (despite the fact that instead of a laundry basket and these niches is the latest plasma and kilkudziesięciocalowa Xbox).
What, therefore, gives us a hint artist? Well give us these very complex paintings? First of all it's worth looking up, as the viewer moves looked at each of these images. In the "Pending" recipient primarily focused on the middle part where the bandage sees very clear in the party hip, distinctive color from bright white dress. It was falling piece outfit draws attention of the recipient downward toward the sphere of the world, not the one that looks toward wytęsknionymi eyes. Also, the gesture seems to be symptomatic. Like a little girl, presented figure rises to toes, hands, backs, corner of your eye to look at the mountainous landscape of Hellas. This is a tiny element that the artist made the woman seem to be very innocent in his love, which also reached a white dress covering her body. Is identical to the visual sense of headgear, which spans over the hair. So she gives the impression that the man, whose expected was her first, and the feeling was still the elements of youthful infatuation. So peep the maiden, who is expecting the first intrusion of a man in the realm of forbidden yet?
solve the second riddle painting, which is just as innocent. Awaiting the impression of constant is rewarded with a kiss, which, although similar, it is visually much more elusive. This is shown not only inconvenient to insert the head by her boyfriend in the house shutters, but also the more expressive elements of the environment, as already mentioned a basket of laundry. He therefore creates a kind of opposition: you can first get the impression that both works are similar and differ only in a few details, but these details make more dynamic or more static composition employed. Same theme is also doing a good hint. Awaiting the nature of things must take a lot (and as we know, women, and happy time does not count, so we poor men, we must sometimes exercise patience and skill of looking at the clock when coming late to a date ...). But seriously, this dichotomy makes the image Lytrasa is so unique. A kiss is because wyczekanym moment, brief but during which the exchange is mutual affection, expressing the fervent confirmation before hitting harder in the hearts and eyes utęsknionym.
I chyba na tym polega wyjątkowość tego malowidła, które mnie (i Ninę) całkiem poruszyło. Każdy szczegół zdaje się podporządkowywać się nastrojowości, czyniąc z powyższych obrazów wiarygodną i udaną próbę wzbudzenia w odbiorcy uczuć postaci. To nie jest lęk, który łatwo osiągnąć ukazując krzyczące postaci, czy odraza, gdy widz spogląda np. na “Okropności wojny” F. Goyi. To raczej odwołanie się do przeżyć tej pierwszej, cudownej miłości, gdy sama myśl o drugiej osobie powodowała, że świat zaczynał wirować, gdy could not sleep without imagining a loved one and when people look at it in a certain idealistic, pure way. It is, in my view, to experience such a feeling to discover the true value of these images Lytrasa.
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